Bramhashanti Yaksha

Here is a comprehensive summary of the provided Jain text about Bramhashanti Yaksha:

The text discusses Bramhashanti Yaksha, a significant deity within Jain tradition, particularly among the Shvetambara sect.

Key Points:

• Context in Jain Cosmology: Jain tradition venerates 24 Yaksha-Yakshi couples as guardian deities associated with the 24 Tirthankaras (Jinas). These Yaksha-Yakshi couples hold significant prestige after the Jinas themselves. While the 24 primary couples are well-established, Bramhashanti Yaksha is highlighted as another popular deity with considerable importance.

• Origins and Early Mentions: The earliest references to Bramhashanti Yaksha are found in Shvetambara texts dating back to the 9th-10th centuries CE. The Digambara tradition does not mention Bramhashanti Yaksha, and consequently, no idols of this deity are found in their temples.

  • It's important to distinguish Bramhashanti Yaksha from "Brahma Yaksha," who is associated with the 10th Tirthankara, Sheetalanath. While both are described as having four faces, seated on a lotus, and possessing eight or ten arms, their iconographic characteristics are entirely different.
  • There's also a tradition of "Brahma Deva" and "Brahma Yaksha" in the South Indian Digambara sect, but their form is distinct from Bramhashanti.

• The "Shoolapani Yaksha" Connection: The pre-birth story of Bramhashanti Yaksha is first detailed in Jinaprabhasuri's "Satyapur Tirthakalpa" (14th century CE). According to this account, Bramhashanti Yaksha was formerly Shoolapani Yaksha, who created many difficulties during Mahavira's penance. After his efforts failed, Shoolapani Yaksha became a devotee of Mahavira and was thereafter known as Bramhashanti Yaksha. The author notes that while Shoolapani Yaksha is mentioned in earlier texts, the connection to Bramhashanti is not made, suggesting that Jinaprabhasuri may have merged two separate traditions.

• Historical and Archaeological Evidence:

  • The tradition of Bramhashanti Yaksha can be traced back no earlier than the 9th-10th centuries CE.
  • Early descriptions appear in "Nirvanakalika" (attributed to Padaliptasuri III, c. 900 CE) and "Stuti Chaturvimsatika" (by Shobhanamuni, c. 973 CE).
  • Jinaprabhasuri mentions the presence of Bramhashanti Yaksha in Satyapur (modern Sachor, Rajasthan) in 1024 CE.
  • Palhanaputra's "Aburas" (1233 CE) mentions the worship of Bramhashanti Yaksha in Modhera (Gujarat).
  • The presence of Bramhashanti Yaksha sculptures in temples dating from the 10th to 13th centuries CE at various Shvetambara sites like Ghanerao, Kumbhariya, Sevani, Delwara, and Osiyan attests to his popularity.

• Iconographic Descriptions (Pratimālakṣaṇas):

  • Early Texts: "Nirvanakalika" describes Bramhashanti as having a Jatamukuta (matted hair tied as a crown), Paduka (sandals), and Upavita (sacred thread), with large, sharp teeth and a fearsome appearance. He is depicted as Chaturmukha (four-faced) and Chaturmukha (four-armed). His right hands hold an Akshamala (rosary) and a Danda (staff), while his left hands hold a Chhatra (umbrella) and a Kamandalu (water pot). Shobhanamuni's text also describes him as Chaturmukha with similar attributes.
  • Sculptural Representations:
    • The Chaturmukha sculpture from Mahavir Temple in Ghanerao is considered the oldest known idol. It features Varadaksha, a circular lotus, a Chhatra, and a Jalapatra (water pot) in his hands. He is depicted in a relaxed posture (Lalitamudra) seated on a lotus, with a slightly pot-bellied physique and adorned with a Jatamukuta and a beard.
    • Osiyan also features a Chaturmukha Bramhashanti sculpture, depicted in Lalitamudra, seated on a pedestal with a swan vehicle. His hands hold a Varalochana (gesture of blessing), Sruk (ladle), a book, and a Jalapatra.
    • Kumbhariya and Delwara: These sites house the most numerous sculptures of Bramhashanti, exhibiting variations in his representation. He is consistently depicted as pot-bellied, four-armed, in Lalitamudra, and with a beard and mustache. While a swan is often depicted, a Gaja (elephant) is also a common vehicle, a departure from known traditions. Some representations show him with a Karanda-mukuta (basket-shaped crown), Chhunnaveera, and Upavita. His hands typically hold a Varada (gesture of blessing) or Varadaksh, a Chhatra, a book, and a Jalapatra or fruit.
    • Delwara (Vimalavasahi and Lunavasahi): These temples contain both Chaturmukha and Shadbhuja (six-armed) sculptures of Bramhashanti. The six-armed sculptures are particularly notable for their elaborate adornments, including long garlands, necklaces, earrings, Upavita, and Karanda-mukuta. The swan vehicle is present in some instances. The depiction of Bramhashanti in these six-armed forms, with specific attributes, shows a strong influence from the Brahmanical deity Brahma.
    • Influence of Brahma: The presence of a swan vehicle, a book, and a Sruk in the hands, along with a beard and mustache, clearly indicates the influence of Brahma. However, Bramhashanti is never depicted as four-faced like Brahma.
    • Influence of Vishnu (Vamana): The text suggests that Bramhashanti's classical form is more influenced by Vishnu's Vamana (dwarf) avatar. Vamana is often depicted with a Chhatra, Danda, and a book, and sometimes described as pot-bellied and wearing an Upavita.
    • Influence of Shiva: The representation in the 1413 CE "Vardhamana Vidyapat" shows Bramhashanti with a trident and a bull vehicle, reminiscent of Shoolapani Yaksha and, by extension, Shiva. This specific depiction is considered to be influenced by Jinaprabhasuri's account of Shoolapani Yaksha.

• Synthesized Influences: The author concludes that Bramhashanti's depiction, both in literature and sculpture, is not static, leading to noticeable differences. The representation shows the combined influence of Brahma, Vishnu, and Shiva from Brahmanical traditions, with Brahma's influence being more pronounced in the sculptures, especially in West India where Brahma worship was prevalent.

• Conclusion: Bramhashanti Yaksha became integrated into the Shvetambara pantheon around the 9th-10th centuries CE. His iconography evolved over time, incorporating elements from Brahma and Vamana, and in some instances, reflecting the Shiva-influenced Shoolapani Yaksha tradition. This syncretism highlights the adaptability and absorptive nature of Jain religious art and iconography.